Monotype Font Catalog

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文字見本 pt Page / Alternate Gothic Pro No Alternate Gothic Pro No Alternate Gothic Pro No Bauer Bodoni Pro Bold Bauer Bodoni Pro Bold Italic Bauer Bodoni Pro Italic Bauer Bodoni Pro Roman Bauer Bodoni Pro Black Bauer Bodoni Pro Black Condensed Bauer Bodoni Pro Black Italic Bauer Bodoni Pro Bold Condensed Bauhaus Pro Bold 文字見本 pt Page / Bauhaus Pro Demi Bauhaus Pro Heavy Bauhaus Pro Light Bauhaus Pro Medium Bembo MT Pro Bembo MT Pro Bold Bembo MT Pro Bold Italic Bembo MT Pro Extra Bold Bembo MT Pro Extra Bold Italic Bembo MT Pro Italic Bembo MT Pro Semibold Bembo MT Pro Semibold Italic 文字見本 pt Page / Bembo Titling MT Std Bembo Titling MT Std Italic Centaur MT Pro Centaur MT Pro Bold Centaur MT Pro Bold Italic Centaur MT Pro Italic Fairfield LT Std JK Light Fairfield LT Std JK Light Caption Fairfield LT Std JM Light Italic Fairfield LT Std KK Caption Medium Fairfield LT Std KK Medium Fairfield LT Std KM Medium Italic 文字見本 pt Page / Fairfield LT Std NK Bold Fairfield LT Std NK Bold Caption Fairfield LT Std NM Bold Italic Fairfield LT Std OK Heavy Fairfield LT Std OK Heavy Caption Fairfield LT Std OM Heavy Italic ITC Goudy Sans Pro Black ITC Goudy Sans Pro Black Italic ITC Goudy Sans Pro Bold ITC Goudy Sans Pro Bold Italic ITC Goudy Sans Pro Book ITC Goudy Sans Pro Book Italic 文字見本 pt Page / ITC Goudy Sans Pro Medium ITC Goudy Sans Pro Medium Italic Sabon MT Pro Sabon MT Pro Italic Sabon MT Pro Semibold Sabon MT Pro Semibold Italic Times Eighteen Pro Roman Times LT Pro Bold Times LT Pro Bold Italic Times LT Pro Italic Times LT Pro Roman Times LT Pro Semibold 文字見本 pt Page / Times LT Pro Semibold Italic Trade Gothic Display 0 Base Trade Gothic Display 0 Layer 0 Trade Gothic Display 1 Base Trade Gothic Display 1 Layer 0 Trade Gothic Display 1 Layer 1 Trump Mediaeval LT CYR Bold Trump Mediaeval LT CYR Bold Italic Trump Mediaeval LT CYR Italic Trump Mediaeval LT CYR Roman Venus Pro Italic Venus Pro Light 文字見本 pt Page / Venus Pro Light Italic Venus Pro Reclining Venus Pro Regular Wolpe Fanfare Black Wolpe Fanfare Bold Wolpe Fanfare Inline Regular Wolpe Fanfare Light Wolpe Fanfare Regular Wolpe Fanfare Thin Wolpe Pegasus Bold Wolpe Pegasus Bold Italic Wolpe Pegasus Italic 文字見本 pt Page / Wolpe Pegasus Regular.

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Century 100 Years of Type in Design
Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister
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TEX Support for the Fontsite 500 Cd 30 May 2003 · Version 1.1
TEX support for the FontSite 500 cd 30 May 2003 · Version 1.1 Christopher League Here is how much of TeX’s memory you used: 3474 strings out of 12477 34936 string characters out of 89681 55201 words of memory out of 263001 3098 multiletter control sequences out of 10000+0 1137577 words of font info for 1647 fonts, out of 2000000 for 2000 Copyright © 2002 Christopher League [email protected] Permission is granted to make and distribute verbatim copies of this manual provided the copyright notice and this permission notice are preserved on all copies. The FontSite and The FontSite 500 cd are trademarks of Title Wave Studios, 3841 Fourth Avenue, Suite 126, San Diego, ca 92103. i Table of Contents 1 Copying ........................................ 1 2 Announcing .................................... 2 User-visible changes ..................................... 3 3 Installing....................................... 5 3.1 Find a suitable texmf tree............................. 5 3.2 Copy ﬁles into the tree .............................. 5 3.3 Tell drivers how to use the fonts ...................... 6 3.4 Test your installation ................................ 7 3.5 Other applications .................................. 8 3.6 Notes for Windows users ............................ 9 3.7 Notes for Mac users................................. 9 4 Using ......................................... 10 4.1 With TeX ........................................ 10 4.2 Accessing expert sets ............................... 11 4.3 Using CombiNumerals ............................
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„Bitstream“ Fonts
Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts.
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Font List Goldedition 2.0 
Font List GoldEdition 2.0 Catalog NamePC PS File Name PC TT File Name Mac PS File Name Printer Font Printer Font 1. Aachen by Linotype Medium lt_70005.pfb lt_70005.ttf AacheMedPla 2. Aachen by Linotype Bold lt_70004.pfb lt_70004.ttf AacheBolPla 3. Aachen by Adobe Bold lte50127.pfb lte50127.ttf AacheLTBol 4. Aachen by Adobe Central European Bold accb____.pfb AacheCEBol 5. Abadi® Extra Light abel____.pfb abel____.ttf AbadiMTExtLig 6. Abadi® Extra Light Italic abeli___.pfb abeli___.ttf AbadiMTExtLigIta 7. Abadi® Light abal____.pfb abal____.ttf AbadiMTLig 8. Abadi® Light Italic abali___.pfb abali___.ttf AbadiMTLigIta 9. Abadi® Regular aba_____.pfb aba_____.ttf AbadiMT 10. Abadi® Italic abai____.pfb abai____.ttf AbadiMTIta 11. Abadi® Bold abab____.pfb abab____.ttf AbadiMTBol 12. Abadi® Bold Italic ababi___.pfb ababi___.ttf AbadiMTBolIta 13. Abadi® Extra Bold abeb____.pfb abeb____.ttf AbadiMTExtBol 14. Abadi® Extra Bold Italic abebi___.pfb abebi___.ttf AbadiMTExtBolIta 15. Abadi® Light Condensed abacl___.pfb abacl___.ttf AbadiMTConLig 16. Abadi® Condensed abac____.pfb abac____.ttf AbadiMTCon 17. Abadi® Condensed Bold abacb___.pfb abacb___.ttf AbadiMTConBol 18. Abadi® Condensed Extra Bold abace___.pfb abace___.ttf AbadiMTConExtBol 19. ITC Abaton™ by Linotype Regular LT_70006.pfb LT_70006.ttf ITCAba 20. Abbot Uncial™ Regular ABBOU___.PFB AbbotUnc 21. Linotype Abstract™ Regular LT_14354.pfb LT_14354.ttf AbstrLT 22. Academy™ Engraved Regular 46152___.PFB 46152___.TTF AcadeEngPla 23. Achispado™ Regular lt_57657.pfb LT_57657.ttf AchisLT 24. Acorn Regular ACORN___.PFB Acorn 25. Acorn Bold ACORB___.PFB AcornBol 26. ITC Adderville™ Book AdrvilBk.pfb ADDEIW__.TTF AdderITCBoo 27. ITC Adderville™ Medium AdrvilMd.pfb ADDEITM_.TTF AdderITCMed 28.
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Calligraphic Tendencies in the Development of Sanserif Types in the Twentieth Century
Keith Tam 62 Calligraphic tendencies in the development of sanserif types in the twentieth century Abstract Dissertation submitted in Sanserif typefaces are often perceived as something inextricably linked partial fulfillment of the to ideals of Swiss modernism. They are also often thought of as some- requirements for the thing as far as one can get from calligraphic writing. Yet, throughout Master of Arts in Typeface Design, University of the twentieth century and especially in the past decade or so, the design Reading, 2002 of sanserif typefaces have been consistently inspired by calligraphic writing. This dissertation hence explores the relationship between calli- graphic writing and the formal developments of sanserif typefaces in the twentieth century. Although type design is an inherently different dis- cipline from writing, conventions of calligraphic writing did and still do impose certain important characteristics on the design of typefaces that modern readers expect. This paper traces and analyzes the formal devel- opments of sanserif typefaces through the use of written forms. It gives a historical account of the development of sanserif typefaces by charting six distinct phases of sanserif designs that were in some ways informed by calligraphic writing: • Humanist sanserifs: Britain 1900s • Geometric sanserifs: 1920s–30s • Contrast sanserifs: 1920s–50s • Sanserif as a book type: 1960s–80s • Neo-humanist sanserifs: 1990s Three primary ways to create calligraphic writing, namely the broadnib pen, flexible pointed pen and monoline pen are studied and linages drawn to how designers imitate or subvert the conventions of these tools. These studies are put into historical perspective and links made to the contexts of use.
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Adopt a Bench
ADOPT-A-BENCH Would you like to adopt a bench in Central Park? It’s easy! In your favorite area of the Park, select three or four benches that you particularly like (we suggest you select more than one in case your frst choice is not available). Be sure to choose benches that do not already have plaques on their fronts. Each bench is identifed by a five-digit tag number on the back of its top slat. Write down the tag numbers of the benches you have selected and contact us at the number below. If you would like more help selecting your bench, let us know—we are happy to help. While there are many benches throughout Central Park that are waiting to be endowed, some areas of the Park no longer have benches available. These include: the Pond at 60th Street, Conservatory Water, the Alice in Wonderland and Hans Christian Andersen statues, the West 69th Street entrance, the East 76th Street entrance, the East 79th Street entrance below the transverse, the East 90th Street entrance, Strawberry Fields, along the Lake to the east and west of Bow Bridge, the West 81st Street entrance, The Mall, Literary Walk, Olmsted Bed, the Conservatory Garden, and Adventure Playground. Most benches can be adopted for a donation of $7,500, with a few hand-made “rustic” benches available for a minimum donation of $25,000. Multiple donors can contribute to the same bench through honorary or memorial funds. Full payment must be received before you can reserve a bench. Bench adoptions are fully tax-deductible, and payment can be made by check, credit card, or stock transfer.
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Yeartech Online Fonts Issue:2016 Decorative Fonts
YEARTECH ONLINE FONTS ISSUE:2016 DECORATIVE FONTS AYT Abyss AYT Ba ta via AYT Action AYT Batavia Italic AYT Action Italic AYT Best Seven AYT Albert AYT Best Seven Italic AYT Albert Italic AYT Big Fiction AYT Alibi New! AYT Booster AYT Alibi Italic AYT Breezy AYT Amigo AYT Bria AYT Amorie AYT Bria Italic AYT Angst AYT Buzzhack One AYT Appetite AYT Cadenza AYT Appetite Italic AYT Calm AYT Aramar New! AYT Cameron AYT Aramar Bold AYT Campbell Cutout AYT Ashley AYT Campbell Cutout AYT Ashley Italic Italic AYT Austere AYT Canaan AYT Awkward AYT Canaan Italic AYT Azucar Gothic AYT Casual AYT Bad Habit AYT Centrum Light AYT Bad Habit Itali c AYT Centrum Medium AYT Banker Square AYT Centrum Bold AYT Banker Square Bold AYT Centrum Medium Compressed Caps AYT Banker Square Condensed AYT Centrum Stencil Medium AYT Banker Square Bold AYT Cheers Type Condensed AYT Cheers Type Bold AYT Banker Square AYT Cheers Type Italic ExtraBold AYT Cheers Type Bold Italic AYT Banker Square ExtraBold AYT Christina Print Condensed AYT Clarence AYT Clarence Italic 2 Decorative Fonts DECORATIVE FONTS AYT Clowning Way New! AYT Design New! AYT Clueless AYT Design Italic AYT Compact AYT Dessau Light AYT Coney AYT Dessau Medium AYT Coney Highlight AYT Dessau Bold AYT Coney Inline AYT Dessau DemiBold AYT Constance AYT Dessau Heavy AYT Constance Bold AYT Eagle Type AYT Cooper Black AYT Earthquake AYT Cooper Black Italic AYT Eddie AYT Cooper Black Condensed AYT Eddie Italic AYT Cooper Black Stencil AYT Elegance AYT Copperplate AYT Elegance Bold AYT Copperplate Bold AYT Elegance
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Typo Eina 01
Disseny de publicacions modulars Fixació del text + Tria i cànon tipogràfic Infografia Treball teòric Aquesta assignatura, juntament amb la de La fixació del text tracta del que es coneix com a Introducció i panoràmica de les tècniques de Es tracta d’una recerca relacionada amb el món Disseny de publicacions per contingut, són les composició del text (typesetting), que en trets generals la infografia en sessions breus on s’avaluen els tipogràfic. La història, la tècnica, els protagonistes… dues grans assignatures pràctiques d’aquesta engloba totes les operacions que es realitzen a recursos que aquest llenguatge periodístic aporta. Una aportació al coneixement general de la segona part del curs. El disseny de publicacions l’interior de les caixes de text en qualsevol publicació. tipografia en forma de treball autònom de modulars contempla la pràctica del disseny Per la seva banda, la tria tipogràfica és un recull Planificació de publicacions l’alumne i tutoritzada per professors del curs. de pàgina des de la perspectiva d’un sistema raonat i cronològic d’aquelles lletres que hauríem Taller pràctic de conceptualització de publicacions. Al final del procés, el treball es valorat jerarquitzat i flexible que s’adapta infinitament de coneixer i com es poden fer servir. S’avaluen tots els formats analògics i digitals per un comité d’avaluació. als contiguts, com es ara el disseny d’un diari. actuals i es desenvolupa un projecte curt. Disseny de publicacions per contingut Història de la pàgina + tendècies formals La manera alternativa de plantejar el disseny de Direcció d’art L’objectiu d’aquestes dues assignatures és per una pàgina, en contrast amb el disseny modular, és En aquest taller s’analitzen les possibilitats i les maneres banda conèixer els diferents sistemes de configuració la creació d’un sistema que permeti prioritzar de fer encàrrecs a tercers (il·lustradors, fotògrafs, de pàgina que han portat els sistemes simètrics les imatges i adaptar els textos amb voluntat tipògrafs…).
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Editorial Y Tipografía
QUE ES EL DISEÑO EDITORIAL Se denomina así a la composición de piezas gráficas tales como Revista, periódico libro, fanzine Historia de la Retícula o Grilla editorial Desde el mismo momento en que el hombre sintió la necesidad de preservar la información a través de unos símbolos tabulares o narrativas, el material escrito precisó algún tipo de retícula, ya que los bloques regulares de piedra o arcilia eran más fáciles de guardar. Cuando los manuscritos se empezaron a realizar en hojas rectangulares de papiro o vitela. se impuso la redacción en líneas rectas y un mínimo imprescindible de márgenes por los cuatro lados. Los copistas medievales, predecesores de los diseñadores gráficos de nuestros días, establecieron varios de los parámetros y normas (por lo que respecta a columnas, márgenes y espaciado) que la sociedad occidental alfabetizada sigue conservando intactos. Asimismo fueron de los últimos comunicadores gráficos, hasta este siglo, en controlar directamente el formato de sus obras, aunque, por supuesto, sólo se trataba de un ejemplar. El descubrimiento y desarrollo de la impresión con caracteres móviles a mediados del siglo XV incrementó la necesidad de un sistema regular que controlase los miles de letras, fundidas en metal o realizadas en madera, que poseía cada página de aquel invento, que posiblemente era el avance técnico más importante para la humanidad después de la rueda. Sin embargo, las "formas" rectangulares en las que la imprenta disponía las letras individuales impidieron un uso innovador de la retícula, a la vez que desposeían del control a los copistas, cuya mayar preocupación era la de dar vida a una comunicación creativa que proporcionara placer estético.
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Linotype Library Gold Edition 1.6 E
Linotype Library GoldEdition™ 1.6 Euro Gold Edition Version 1.6E of January 2002 The following list comprises 2087 fonts. Aachen ™ bold Avenir ™ 95 black Birka ™ bold Aachen ™ bold Avenir ™ 95 black oblique Birka ™ bold italic Aachen ™ medium Baker Signet ™ Birka ™ italic Ad Hoc ™ Bis Balder ™ Birka ™ roman Ad Hoc ™ Bis italic Banco ® Birka ™ roman SC Ad Hoc ™ italic Banjoman ™ Birka ™ semi bold Ad Hoc ™ roman Banjoman ™ bold Birka ™ semi bold italic Ad Hoc ™ roman SC Banjoman ™ light Boberia ™ light Adobe Garamond ™ bold Banjoman ™ open bold Boberia ™ light italic Adobe Garamond ™ bold italic Banjoman ™ open light Bodoni bold Adobe Garamond ™ italic Banjoman ™ text bold Bodoni bold condensed Adobe Garamond ™ regular Banjoman ™ text light Bodoni bold italic Adobe Garamond ™ semi bold Banjoman ™ text regular Bodoni book Adobe Garamond ™ semi bold italic Basic Commercial ™ black Bodoni book italic Adobe Garamond ™ Titling Capitals Basic Commercial ™ black italic Bodoni Classico ™ bold Agrafie ™ Basic Commercial ™ bold Bodoni Classico ™ bold italic Albertus ™ italic Basic Commercial ™ bold italic Bodoni Classico ™ italic Albertus ™ light Basic Commercial ™ italic Bodoni Classico ™ roman Albertus ™ roman Basic Commercial ™ light Bodoni Classico ™ roman SC Aldus ™ italic Basic Commercial ™ light italic Bodoni italic Aldus ™ roman Basic Commercial ™ roman Bodoni roman Amelia ™ Baskerville Classico ™ bold Brighton ™ bold Americana ™ bold Baskerville Classico ™ bold italic Brighton ™ light Americana ™ extra bold Baskerville Classico ™ italic
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Garalde/Venetian Transitional Slab Serif Q
Garalde/Venetian univeros Slab Serif bergamo 5uorx7t University Old Style cheltenh 5borx7t Bergamo 5uorix7t University Old Style Italic 5ctr7t Cheltenham 5borix7t Bergamo Italic 5uobx7t University Old Style Bold 5ctri7t Cheltenham Italic 5borcj7t Bergamo SC OsF 5uobix7t University Old Style Bold Italic 5ctr7tc Cheltenham Condensed 5bobx7t Bergamo Bold vendome 5ctri7tc Cheltenham Italic Condensed 5bobix7t Bergamo Bold Italic 5ver7t Vendome 5ctb7t Cheltenham Bold 5bobcj7t Bergamo Bold SC OsF 5veb7t Vendome Bold 5ctbi7t Cheltenham Bold Italic caslon 5ctb7tc Cheltenham Bold Condensed 5carx7t Caslon Transitional 5ctbi7tc Cheltenham Bold Italic Condensed 5carix7t Caslon Italic antiqua 5ctl7t Cheltenham Light 5cabx7t Caslon Bold 5aqrx7t URW Antiqua 5ctli7t Cheltenham Light Italic 5cabix7t Caslon Bold Italic 5aqrix7t URW Antiqua Italic 5ctl7tc Cheltenham Light Condensed garacond 5aqbx7t URW Antiqua Bold 5ctli7tc Cheltenham Light Italic Condensed 5gdr7t Garamond Condensed 5aqbix7t URW Antiqua Bold Italic clarendo 5gdri7t Garamond Condensed Italic baskervi 5cdr7t Clarendon 5gdb7t Garamond Condensed Bold 5bvrx7t Baskerville 5cdb7t Clarendon Bold 5gdbi7t Garamond Condensed Bold Italic 5bvrix7t Baskerville Italic 5cdh7t Clarendon Heavy 5gdl7t Garamond Condensed Light 5bvbx7t Baskerville Bold 5cdl7t Clarendon Light 5gdli7t Garamond Condensed Light Italic 5bvbix7t Baskerville Bold Italic egyptian garamond centuros 5eer7t Egyptian 5gmrx7t Garamond 5curx7t Century Old Style glytus 5gmrix7t Garamond Italic 5curi7t Century Old Style Italic 5glr7t Glytus
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Gill Sans MT
#getbeyond Templates Volledige templates LHF Argentine Solid Kabel LT Std - Heavy Phosphate Hill House Seasideresortnf Seasideresortnf BAZAR LT Oksana Regular Albatross Albatross Gill Sans Shadow MT Pro Gill Sans Shadow MT Pro Kraash Kraash LHFLHF BriannaBrianna LEMON/MILK LEMON/MILK Zebrawood ITC Goudy Sans Std - Bold Italic Kleurenpaletten RGB 204, 67, 0 RGB 127, 42, 0 RGB 255, 83, 0 RGB 255, 135, 67 RGB 127, 117, 112 RGB 197, 240, 141 RGB 153, 213, 152 RGB 104, 178, 137 RGB 48, 116, 115 RGB 30, 79, 119 RGB 36, 0 , 36 RGB 55, 0 , 56 RGB 76, 13, 56 RGB 176, 51, 56 RGB 234, 92, 50 RGB 90, 201, 225 RGB 152, 212, 207 RGB 255, 255, 255 RGB 238, 113, 37 RGB 264, 82, 7 RGB 0, 0, 0 RGB 0, 0, 0 RGB 255, 255, 255 RGB 48, 116, 115 RGB 48, 116, 115 transparancy 60% transparancy 60% RGB 0, 0, 0 RGB 0, 0, 0 RGB 255, 255, 255 RGB 0, 141, 234 RGB 30, 79, 119 transparancy 40% RGB 0, 0, 0 RGB 0, 0, 0 RGB 255, 255, 255 RGB 209, 32, 39 RGB 113, 15, 17 transparancy 40% RGB 0, 0, 0 RGB 255, 255, 255 RGB 76, 50, 65 RGB 76, 13, 56 RGB 55, 0, 56 transparancy 40% RGB 0, 0, 0 RGB 0, 0, 0 RGB 255, 255, 255 RGB 168, 67, 72 RGB 255, 164, 167 transparancy 40% RGB 0, 0, 0 RGB 255, 255, 255 RGB 255, 174, 177 RGB 168, 67, 72 RGB 29, 89, 101 RGB 0, 0, 0 RGB 255, 255, 255 RGB 29, 89, 101 RGB 29, 89, 101 RGB 246, 82, 7 transparancy 70% RGB 0, 0, 0 RGB 0, 0, 0 RGB 255, 255, 255 RGB 238, 113, 37 RGB 246, 82, 7 transparancy 40% RGB 0, 0, 0 RGB 255, 255, 255 RGB 197, 240, 241 RGB 197, 240, 241 RGB 29, 89, 101 transparancy 30% RGB 0, 0, 0 RGB 68, 173, 211 RGB 68, 173, 211 RGB
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